Aisthesis
Scenes from the Aesthetic Regime of Art
-
- $13.99
-
- $13.99
Publisher Description
Composed in a series of scenes, Aisthesis–Rancière’s definitive statement on the aesthetic–takes its reader from Dresden in 1764 to New York in 1941. Along the way, we view the Belvedere Torso with Winckelmann, accompany Hegel to the museum and Mallarmé to the Folies-Bergère, attend a lecture by Emerson, visit exhibitions in Paris and New York, factories in Berlin, and film sets in Moscow and Hollywood. Rancière uses these sites and events—some famous, others forgotten—to ask what becomes art and what comes of it. He shows how a regime of artistic perception and interpretation was constituted and transformed by erasing the specificities of the different arts, as well as the borders that separated them from ordinary experience. This incisive study provides a history of artistic modernity far removed from the conventional postures of modernism.
PUBLISHERS WEEKLY
Eminent French philosopher Ranciere (The Politics of Aesthetics) focuses on various regimes of art, from 1764 to 1941, brought about by realignments in the cultural conception of what, precisely, qualifies as art. Besides highlighting a pattern of alteration within the artistic landscape, he concentrates on the contention between aesthetics and politics. While emphasis remains on the overarching system of change, individual artistic spectacles from the Belvedere Torso sculpture to renowned acrobats, the Hanlon-Lees Brothers are cited in extensive detail. Unveiled via passages from critics or other commentators, the individual works of art, events in art, and artists are examined by Ranciere alongside the commentary each inspired. For instance, he contextualizes both sculptor Auguste Rodin and Rodin enthusiast Ranier Maria Rilke within a regime which "gives the fragment...the value of the whole." The book persistently reveals reversals, upheavals, and rebirths in widespread perceptions of art, along with how and why these become displaced. While Ranciere does not take for granted his readers' intimate knowledge of the works discussed, he moves with swiftness and familiarity through dense historical settings, and those who already possesses a working knowledge of art theory and history will most readily absorb his astute observations.
